#yakuza meta

[gamerism]

what im really hoping, is that majima having amnesia means we get to finally meet the real majima goro. every time we've seen him he's been wearing one mask or another, the lord of the night before the mad dog. ect ect.

the trailers we've seen have shown him acting a lot like the mad dog, (though obviously events are distorted if majima is retelling them to someone later on and thats the set up for the game.) and im happy for the mad dog to be present...

but i cant help but feel like it has no place left in the world. the tojo clan is done. the yakuza as a whole is essentially done. and he created it for that environment...so what does majima goro become next, when the context for that dissolves? we haven't seen. can he even still change? he's been the mad dog for so long now...

[odessa-castle]

I'm bouncing around a larger post about Nishiki and the mortifying ordeal of being known, but in the meantime I'm thinking about Nishiki and Kiryu and how the clothes make (or don't make) the man. Like, beyond my visceral horror that Kiryu begged Nishiki to pick out a safe and boring suit for him in Y0 and then said he was envisioning something purple with gold stripes.

I'm thinking about Nishiki's incredible sensitivity to image and his need to control how he's perceived. I'm thinking about Kiryu's inability to let go of the past. I'm thinking about how KIryu dresses like who he thinks he is, and Nishiki dresses like who he thinks he wants to be.

There's some interesting incidental dialogue between Nishiki and Kiryu in Y0 while they're en route to the men's suit store. I wish it wasn't so easy to miss, because there's a lot to unpack here. (I'm just transcribing the English in-game subtitles here; I don't speak Japanese so I have no idea how loose vs. direct the localization is in this part.)

NISHIKI: …now that I think about it, you've been dressing like an old man since we were kids. KIRYU: Have I? NISHIKI: Yeah. The few times we got to pick our clothes, it was always like, "you're choosing THAT?" NISHIKI: I wouldn't say you're a plain guy…You'd pick shirts with weird prints though. KIRYU: Guess I forgot all that. It's weirder to me that you haven't. NISHIKI: Well, confession time. You're why I started caring about fashion. I swore I'd never go out dressed like you. KIRYU: Come on, I'm not THAT bad. [we have already discussed why kiryu is, in fact, that bad.] NISHIKI: [laughing] Aww, did I hurt your feelings? NISHIKI: Well, this time you've got me with you. I'll see my bro gets taken care of. KIRYU: Heh. What an honor. NISHIKI: Leave it to me.

Nishiki doesn't bring up Sunflower Orphanage much; when he does share memories of his childhood, those memories are kind of painful (see: "do orphans not get to dream?"). Kiryu's surprised that Nishiki remembers how they dressed as kids, but it makes sense that wearing a limited selection of hand-me-downs stuck with Nishiki so strongly. His clothes announced his poverty, and they weren't even his -- he had to share them with the other orphans, so what he wore showed he belonged to yet another stigmatized group. And I'm sure people picked up on those visual signals, especially other kids. Kids can be vicious, and appearance is an easy and immediate target! We don't know for sure how young Nishiki interacted with his peers and teachers, but given what the Morning Glory kids go through in Y3 (and given, like, everything about Nishiki), he probably didn't have a great time.

Kiryu frames his childhood as poor but loving, and places much more emphasis on the latter. There might be some rose-colored glasses at work there -- let's look at the flashback where Kazama tries (and fails) to violently dissuade Kiryu and Nishiki from joining the yakuza.

KIRYU: I owe you everything, but this isn’t about that. [...] We’ve looked up to you for all this time. Your car. Your confidence… The way everybody bows to you. We idolized you. I want that life, too. Is that so wrong!?

Nishiki doesn't really speak in this flashback, but like, Kiryu uses "we" enough for us to draw some obvious conclusions about Nishiki's own motivations. That being said, I don't think Kiryu's being dishonest or disingenuous when he describes his childhood as happy, and himself as well-loved. He's not ashamed of his upbringing, and he doesn't hide where he came from. Nishiki seems to have the inverse view. It's not that he doesn't love (at least some of) the people he grew up with, but what comes up first for him is what he didn't have. He didn't have money. He didn't have respect. He didn't have a cure for his little sister. He didn't have a lot of choice, right down to the clothes he wore.

(There's a whole other essay here about why Kiryu's and Nishiki's perspectives diverge on this, but I'm trying to limit the scope of this post. Suffice to say that, while I don't think game canon gives a timeline, I do think Nishiki was a little older when his parents were killed -- old enough that he actually remembers them, at least.)

The same mindset fuels Nishiki's interest in fashion. Yeah, part of it is that he's ribbing Kiryu, but I think it goes deeper than Kiryu wearing ugly shirts. Nishiki doesn't want people to look at him and see what's missing. Fashion isn't a means of personal expression for him, really. It's a message. It's the interplay of knowledge and resources and presentation: knowing what clothes read as successful and trendy and expensive, being able to afford those things, and convincing people that your successful important outfit makes you a successful important person. And he's not wrong about the social dimensions of fashion.

NISHIKI: Try sporting a suit that runs 500 grand for once. Trust me, you’ll see the world in a whole new light. KIRYU: Fashion’s not my thing. Besides, Kazama-san never wore flashy clothes. NISHIKI: You do realize he’s the family captain, right? Number two in the whole Dojima operation? You get to that level, you can wear whatever you damn well please. But for the rest of us, “flashy” is part of the business. KIRYU: So that fancy new car you bought was just “business”. NISHIKI: Yeah, and that fancy lighter of mine, too. Which you still haven’t given back. KIRYU: You want to play the rich guy, quit being so stingy. NISHIKI: But you get what I’m saying, right? People see the expensive car, the designer jacket, and the gleam of that little Dojima pin, they pay attention. A yakuza’s only as good as his image. [...] Take your buddy today. These squeaky-clean idiots, borrowing money just to blow on tits and booze… Nobody in this town gives a crap about substance. What you see is what you get.

That's our first take on one of the major themes of the game: what does it mean to be yakuza? Again, there is truth to what Nishiki's saying here, particularly in terms of the ethos of the eighties. I'm not an expert on the bubble era, but the worldbuilding in the game speaks for itself. People hail taxis with 10,000-yen bills. You punch money out of punks during random street battles. Nishiki keeps a personal bottle of high-end booze at a bar he's visited twice, mostly because he "can’t stand being taken for a bum." The act of spending is important, not what you're spending it on.

Nishiki's outfit in Y0 is perfectly suited (heh) to that outlook. And look, I might be inviting controversy here, but in context, I think it's a werq. Yes, it's loud. But the silhouette -- squared shoulders, single breasted, thinner peaked lapel -- is right on trend for the time period, and it fits him well. The colors look good on him. The bold pattern (no, it's not animal print) under the solid maroon is a risk, but he pulls it off. And excess aside, he knows when to pull back on the accessories. It's bright and confident and memorable, and boy would Nishiki like to be all of those things.

Also -- and importantly -- Kiryu would never go out dressed like that. Because we can't talk about Nishiki and Kiryu without talking about Nishiki's Mt. Fuji-sized inferiority complex. Mastering image doesn't just make Nishiki stand out; it makes him stand out from Kiryu. Let's go back to the beginning of the game.

NISHIKI: I’ll admit, though, you’re finally starting to look the part. You make a pretty convincing yakuza. You’re done with collections today, right? KIRYU: Yeah. NISHIKI: Good. That should put Kazama-san’s mind at ease a bit. KIRYU: Heh, dunno about that. But he always knew all I could do is fight. You’re the one who’s good at the dance.

Nishiki then calls attention to the "rags" that Kiryu's wearing, which...is not an unfair assessment. (TUCK IN YOUR SHIRT, KIRYU. HEM YOUR PANTS.) As the two of them walk around Kamurocho, Nishiki offers Kiryu plenty of hot tips, from meeting girls to making big bucks to cozying up to the brass. But even when Nishiki's opining on his area of expertise, there's a competitive edge to it. "You asking me to pick out clothes for you means you admit you have terrible taste," he tells Kiryu on the way to the suit shop. Kiryu tells him to shut up, but there's no actual hurt behind it. Kiryu doesn't really care that his taste in clothes sucks. Fashion isn't important to him. Most of the things Nishiki knows so much about don't really matter to Kiryu. And that makes Nishiki feel more insecure! Because if Kiryu rolls out of bed looking like a yakuza, if Nishiki's image counseling sessions aren't helpful or meaningful, if Kiryu can skip the dance and get to the top on the strength of his fists and convictions, then who cares about Nishiki's 500 grand suit or his hourlong hair care routine? If image isn't what makes a yakuza, what does that make Nishiki?

At the end of Chapter 6, Nishiki tries to look out for Kiryu again -- this time, by granting him a merciful death before the Dojima Family drags him to the Hole. It's one of my favorite scenes in the game. Nishiki's crying too hard to aim the gun properly; Kiryu tells him to man up and shoot. Finally, Nishiki collapses.

NISHIKI: Can’t do it… How could I shoot you!? Without you, I’ll always be nothing. Can’t make it as a yakuza… No. I wouldn’t even still be alive now if I didn’t have you beside me! I’m just… If you’re not with me, I’m useless! Nothing means anything!

Mastering image hasn't granted Nishiki anything of substance. At the end of the day, Nishiki's playing dress-up, and he knows it.

And I'm almost certainly getting into overthinking-this territory now (if I haven't gotten there already), but I kind of like the spin this puts on Nishiki ripping his expensive suit off in Chapter 14 when he decides to fight the Dojima Family at Kiryu's side. Like yes, ripping off your outer layers to get at the naked (so to speak) truth -- your irezumi, and what it represents -- is just Yakuza Storytelling 101. It's decisive, it's kind of dumb, it's great, it gets me hyped every time. But I like that Nishiki's honest answer to "what does it mean to be a yakuza?" isn't about looking the part. I am genuinely trying not to end this paragraph by saying that Nishiki must become like a dragon, but like...you get where I'm going with this.

Of course, Nishiki's back to playing dress-up in Y1/Kiwami. I'm not the first to call the Patriarch Nishikiyama look a glow-down (though I like the patterned white tie). Like, fashion-conscious Nishiki would look good in a Hedi Slimane/Tom Ford-esque skinny black suit. But he picks a silhouette you'd expect to see on a much older man, torso-swallowing pants and all. The slicked-back hair doesn't help. He's just so transparently trying to look bigger and broader and older, and he doesn't pull it off. Big Bad Patriarch isn't a good look for him, in any sense of the phrase.

A final thought: Kiryu's clothes, and Nishiki's commentary on them, are the subject of their first conversation in Y0 -- and of their last. Kiryu's costume progression in Y0 is a pretty obvious commentary on his journey, to the point where Kiryu and Nishiki explicitly call attention to the color connotations in their final exchange. As a Dojima grunt, he wears black, and it doesn't look good on him because "brutish thug who keeps his head down and does what he's told" isn't a role he's comfortable with. He wears white when he works in real estate, but the change in color isn't enough to sell anyone on his transformation into a civilian. Although it's a little rich for Oda "Red Clown Shoes" Jun to chide someone for not wearing a proper suit. At the end of the game, Kiryu's in his classic grey suit, and well, the game spells it out:

KIRYU: I’m not feeling black or white these days. This is where I’m at right now. I chose it myself. I’m making it a fresh start. NISHIKI: Fine, fine. See if I care! Wear it the rest of your life!

Nishiki, dismayed, tells Kiryu that the grey suit already looks dated, but for Kiryu, "fresh start" doesn't mean "on trend". His image might be out of step with how other yakuza view themselves, or want to be seen, but if he's always going to look like a yakuza, he might as well stake his claim on what being a yakuza means. Still, it's telling that, even as a young man, Kiryu looks like a throwback to an earlier era. As the series progresses, the games hammer this home more and more. How many antagonists tell Kiryu that he's out of touch with the modern world, that he represents a version of the yakuza that no longer exists, that it's time for him to make way for the next generation?

"Wear it the rest of your life!" is a funny little in-joke, yeah, but...it's a little sad when you think about it, isn't it? Kiryu gets new outfits from Y3 on -- and in every game, he ultimately puts the suit back on and heads to Kamurocho. It's exactly of a piece with how Kiryu views being yakuza. We, and he, can debate the exact extent of his retirement from the Tojo Clan's affairs, but the yakuza isn't a career for Kiryu, it's a set of beliefs he carries with him. He wears the suit the same way he wears the dragon on his back: as an indelible part of his self-image.

[baixueagain]

It seems backwards in Y0 for Majima to respond "I used to be" when Makoto asks him if he's handsome, right?

I mean, look at the 21 y/o gremlin who dresses like shit vs the 24 y/o suave, sultry manager of the Grand Cabaret in his three piece suit:

But when Majima responds "I used to be [handsome]" in that scene, what he's actually saying is "I used to be happy."

The year of torture followed by two years of indentured servitude has robbed him of his ability to construct his own self-image, to determine his own behaviour, clothing, choices, occupation. Yes, he's damn good at what he does, and he looks fantastic doing it, but he is being puppeteered and that alone makes him fucking miserable.

So while he looks objectively better in 1988 than he did in 1985, he doesn't feel like it, because he hates his life. We see here how deeply Majima links his self-perception to his sense of self-determination.

And this doesn't even go into how the year of torture and the trauma of having his eye gouged out must have fucked with his self-esteem and self-image. Having your face deliberately disfigured is enough to destroy many people's self-esteem on its own, but this was followed by a year of torture and (judging from his hair length) no way to groom himself.

It makes all the more sense that when he's finally freed from his punishment, he deliberately dresses even more outlandishly than before. It's guaranteeing that he and only he can control how others perceive him and, by extension, how he perceives himself. It's a layer of protection to guard a self-image that has been disrupted by immense trauma.

[rggz]

majima's fake kansai dialect explained

got this video in my youtube recommended earlier and a lot of people in the comments seemed confused as to how exactly it is that majima's speaking differently in this scene and i love to ramble so. here we are. bit of linguistic meta under the cut :)

quick disclaimer though: i'm not a native japanese speaker nor am i an expert on kansai dialect so there'll likely be some oversights and nuances that i didn't pick up on here. so just remember that this is all for fun. ok?

1. だ (da) vs や (ya)

i'm going to try not to use too much linguistic jargon here so please bear with. in standard japanese the copula (essentially a verb that means "to be" when describing a quality possessed by the subject of the sentence, eg. the sky is blue) "だ" is used in casual speech, whereas in kansai dialect "や” is used instead. listen to the sentence translated as "if you want out, now is the time", and you'll hear the difference - instead of ending his sentence with や as he would when he speaks in kansai dialect, majima uses だ.

2. いる (iru) vs おる (oru)

listen to the sentence translated as "but you've got yasuko". he uses the verb いる (to be (in a location, doing an action, etc.) or to have, for animate objects) to say that saejima has yasuko, whereas in kansai dialect the verb おる is used instead.

3. いい (ii) vs ええ (ee)

see: "saejima, are you really sure you want to leave her behind?". literally, this would translate to "saejima, is it really okay to leave her behind?" (with the word いい translating to okay). in kansai dialect ええ is used in place of いい.

4. 本当 (hontou) vs ほんま (honma)

see the same sentence as no. 3, where instead of using the kansai "ほんま" to mean really (lit. truth), majima uses the standard "本当".

5. いる (iru) vs おる (oru): the squeakuel

adding an extra note on this one because interestingly, even after saejima calls him out on him slipping up, majima doesn't switch straight back to kansai dialect. see the line "i'm fucking serious here" - the actual dialogue translates literally to "[hey] you, when people are talking seriously-".

the japanese present continuous is formed by putting the verb into て (te) form and adding the verb いる to express continuity - to be doing something. "are talking" is translated from "喋ってる" (shabetteru - note that the い sound of いる is omitted in casual speech). however if you've noticed a pattern here, you might think that in kansai dialect the verb おる would be used instead, and you'd be correct.

this construction is used by saejima in the previous line, where he says "you're forgetting your kansai dialect" (though this is translated as "your kansai accent's slipping"). 忘れて (te form of wasureru, to forget) is added to おる (to be). note however that て＋おる becomes とる (toru).

-

it's worth mentioning, though, that none of these are absolute rules (especially not nowadays among younger people). rather these observations were largely based on what majima tends towards using himself in general throughout the series. even in the first half of the same cutscene, i think the difference is pretty stark.

that being said though i do think it's also easy to miss - it's not so much a difference in accent or the way the words themselves sound as it is a case of differences in grammar, words used, expressions, etc.

however, there are definitely differences in intonation between kansai and kanto dialects - in fact, because majima's va is from tokyo he had trouble getting the intonation right, and as such it's a liiiitle off in places, but everyone was sort of just like meh. it's majima so it's fine. therefore, i reckon it tracks that majima doesn't sound too different between dialects and is actually a cool bit of characterisation, albeit unintentional.

as for where he's actually from, it could really be anywhere, but given that regional dialects were a lot more prevalent and stronger even just in the 80s, i'd wager that he is indeed from somewhere in kanto.

this would all suggest too that majima fully mastered his use of kansai dialect in sotenbori, which would make sense. excluding his sequence as the lord of the night in which he uses keigo (specifically a combination of kenjougo - humble language which lowers the speaker - and sonkeigo - respectful language which puts the listener at a higher position), majima has no other instances of his dialect slipping that i've noticed despite how serious much of yakuza 0 is. note that this is not to say kansai dialect doesn't have honorific speech, just that majima is using standard honorific speech, and even this contains interjections of kansai dialect.

as a little related tidbit, something else i noticed is that the only other person majima uses keigo with is shimano (1) (2) (3). not nearly to the business level that he uses as the lord of the night, but it's there (as is his kansai dialect, as he still uses おる and other kansai language that i won't go into here for brevity's sake). instead of using や as an ending particle he uses です (desu, the keigo - specifically teinego or polite language - equivalent of だ), and uses verbs in their teineigo ます (masu) form. he doesn't use it with sagawa, and not even with terada as the 5th chairman in the majima saga.

anyway, that's all :) i was rambling about this to myself in my notes app anyway so i thought why not share it in case anyone else is interested too. ty for reading!

[alinktoana]

new yakuza game, new reasons to be upset at rgg ✨

im not even gonna consider kiwami 1 or 2 bc i havent played them and i dont think they should matter to the point i want to make

but youre telling that guy

and this guy

are the same person?

did that coma erase kiryu's memories of majima or is this yokoyama talking out of his ass bc he doesnt see why majima should even exist?

at this point im blaming everything thats upsetting to me about yakuza on yokoyama lmao the guy has given us many great things but the direction rgg is going with kiryu is so weird. specially given theyre bringing him back basically for marketing purposes, it amazes me how *he* doesnt understand how majima is a marketing darling.

dont get me wrong, i dont mind majima not being on Y8. i *wish* kiryu wasnt there, bc it's time for ichiban&gang to shine. i love the idea of gaiden, ishin and other spin offs, so we can go on playing with kiryu in other bits of his story, and other characters, but *ive said it once and ill say it again, the torch has been passed on, kiryu has been saying goodbye on as many games as he's been in*. even though yokoyama has been there from the beginning, and rgg really didnt give us much interaction, Y3 gave us so much emotion and told us about their bond rather than showed (i mean, for the most part - again, i wouldve loved to have seem more, and im guessing that's what the kiwamis are for). and now you're telling me Y6 kiryu doesnt understand him. wow. date talks about understanding kiryu bc theyve known each other for ages. and kiryu doesnt *get* majima. sure. one of the things that really stuck to me playing ps2 Y1 is that kiryu and majima really are batman and joker, and it's baffling good how they actually got mark hamill to voice majima. and im not here for batman at all, but it's the trope. it's hamilton and burr, it's edward teach and izzy hands (lol), heck, it's jesus and judas (not all my musical theater references showing lol hey taika 😉) . it's not about villany or anything, it's about them being equal power houses on their town, it's about ying and yang, it's even reminiscent of nishiki and kiryu. and i got that just by playing the games. so if the person writing them doesnt see it, that's concernin lol whats good? lmao whats even real? the gaslighting yokoyama lmao

sometimes i forget why i say Y3 is my favorite but that kind of thing reminds me why.

also bless ugaki, a character he's played for years being dissed by his own creator to his face and he's smiling. never change ugaki, never change. (btw credit to the awesome people who uploaded the game footage on yt) also bless ugaki, a character he's played for years being dissed by his own creator to his face and he's smiling. never change ugaki, never change. (btw credit to the awesome people who uploaded the game footage on yt) edit: yeah i didnt bother looking at credits but apparently yokoyama was pretty hands off on Y6, im just being blindly biased :v i should stop lmao *but my concerns about rgg's direction with kiryu remain, regardless who is actually penned anything*

[majimemegoro]

We don’t talk enough about the fact that in Dead Souls Kiryu literally fights the magical personification of suicidal ideation.

[millionmaggots]

RGG Show was Mid, + a Tangent About Goro Majima

Ok, yeah, I'm glad I didnt get my hopes up, bc WOWIE the amazon prime RGG show is Not Good.

I wanted to like it, but in 100% full sincerity, i would recommend that you watch the unhinged 2005 movie over this.

The games beautifully mix genuinely serious story beats / subject matter with completely absurd moments of levity. This contrast allows you to see the silly and charming sides of the characters, making the story especially engaging precisely because those moments of happiness contrast so sharply with the characters' hard lives. Seeing what they could have makes it hit so much harder when they're put through the wringer.

Kiryu will go through the most gut-wrenching tragedy, then immediately after, you'll do a side quest about helping people find their lost items or something. Ultimately, the series is about humanity, and flawed people in horrible situations doing what little good they can.

The 2005 movie is ridiculous and borderline incomprehensible, but it still captures that mix of tragedy and farce. It's weird, it's campy, it's horny, and it makes little to no sense - It's fun.

I can't say the same about the new Prime series. It lacks the charm and silly antics that separate RGG from any other crime drama, and that self-serious nature just sucks all the appeal out of it.

I'm not upset that it isn't totally loyal to game canon - in fact, one of my main hopes was that it would reconcile Majima's super inconsistent characterization in Kiwami 1.

Him kidnapping Haruka just to get to Kiryu, holding a woman at knifepoint, etc., was all written for the original game in 2005 when he was meant to be a wildcard minor antagonist/villain.

The Majima Everywhere mechanic was added in the remake in 2016 after gradually becoming a much more complex and likeable character in 11 years worth of subsequent games after the original game's release.

However, the added content more in line with his later characterization was tacked on to the original iteration of him with little consideration for consistency, making him feel like one of two different people, depending on the scene.

With the show having the benefit of hindsight, I really hoped they would do something interesting with him, and balance out the genuinely detestable things he does with the silly amicable rivalry he has with Kiryu.

The story of the first game is mostly about Kiryu, Nishiki, and Yumi, but the marketing made a point to say it was (however loosely) adapting Kiwami 1. While I understand not wanting to advertise a brand new show with 2005 PS2 era graphics, I feel like that implied that it would reflect the minor narrative/framing changes and increased prominence of Majima, just as it does with Nishiki from the original game to Kiwami.

Essentially, I wasn't too excited about this series, but I had some hope because they had an opportunity to clean up the story and retell it without the limitations of being a remaster of an old game and following an eleven year old script almost word for word.

Instead, they told a gritty and joyless version of the same story without taking advantage of the freedom to rework a flawed but enjoyable story/script, and in doing so, lost its grip on the central theme of the series.

[a-h-li]

Some…. Opinions….

An edit I made where I added some rare pairs mixed with some other popular ships!!

Bonus:

the ones before fav of all time with multiple colors I got stuck between or I feel like would have the most potential unrequited

[gamerism]

Kiryu Kazumi is an interesting exercise in fandom, in my opinion. And I wanna talk about that.

[Kazumi is the fan created drag persona for Kiryu. Often Kiryu is genderfluid or exploring identity through her.]

Kazumi places a few tiers down the "non-canon fandom iceberg". She exists in response to Goromi who is already a very minor thing in canon, and was written as a Bit/with the intent to make an offensive joke about drag/ect, the fandom were the ones who made Goromi mean more than that. So Kazumi is a layer down from all of that already.

Despite her existence being entirely fanmade, she's not a vehicle for the fandom to cannibalise the source material into something unrecognisable purely for fanworks' sake. Though she might look it on the surface.

If the fandom decided to make Goromi mean something because she's the most blatant moment of queercoding for Majima in a long history of queercoding for him, then her theme is ultimately masculinity in canon.

Which is absolutely what Kazumi is about. Kiryu sits at the very beating heart of Like A Dragon's themes about masculinity. Be it toxic, be it ideals, be it the kind of appearances you're expected to maintain in the yakuza. Kiryu shoulders the heavy burden of them all.

We see him exhibit both positive and toxic masculinity throughout the series. But what the games have rarely brought up for him, is the rejection of masculinity in any context, or at least, femininity in equal amounts.

This isn't really surprising, if they're unwilling to make Majima say he's gay with his own mouth after using queerness as a means to Other him and make him seem dangerous, untrustworthy and even scary...they're certainly not going to have their shining beacon of Honour, Kiryu, do that. (Majima's queerness and coding has changed role somewhat over time and is generally more neutral or positive in positioning now. But even as recently as Yakuza Kiwami, it was being used in a negative way.)

So Kazumi serves the purpose for fans who wish to delve more deeply into that thorny complex relationship to masculinity.

[Kazumi In Kiwami 2 On NexusMods] By kiryussideburns.

Personally I find the idea of Kiryu exploring Kazumi as a means of escape, as a means of fully free self expression (something Kiryu has never had), really really interesting. I also find the time frame she's generally written in interesting. Most people place her post-2005. Kazama is dead. This is a hugely important factor in Kiryu's willingness to take the risk to explore gender expression. Kazama is not the kind of man who approves of any (perceived) weakness in men. In Kiryu and Nishiki's lives he's who instills a lot of toxic aspects of masculinity in them. I'd also hazard a strong guess that he's homophobic, though we don't actually know that.

The next largest factor is that December 2005 is the point where Kiryu leaves the Tojo Clan permanently. Kiryu definitely still cares a great deal deep down about his image and public perception within the underworld after leaving, but his day-to-day is no longer dictated by the rules of that life.

(Some people, me included, also dabble in Kazumi in 1988. But the same things essentially apply there. Kazama is in prison & as far away as he can functionally be while alive. And Kiryu is out of the Tojo Clan temporarily.)

As someone so enamoured with this exploration of gender expression for the character, I was floored when LAD Gaiden allowed Kiryu to wear makeup. Seriously, I had to go lay down to calm down about it when playing Gaiden day of release.

(Gaiden's lighting is very contrasted, I did my best to find a screenshot where you can actually see the makeup.)

The makeup, nail polish and pearl earrings in the Boutique was kind of unbelievable to me. I know RGG didn't really mean anything by it, that they didn't make those customisation options because they were going to touch on these themes. But even the hint of that in canon, it was so much more than I ever expected....even if it did go nowhere, as I knew it would.

It kind of gives me hope that Goromi might mean something more than just an offensive joke (in canon anyway) in the future. Or if not Goromi than something else, in LAD9 or such. Either way Kazumi will continue to be fandom legacy for gender expression, presentation and what the expectations Kiryu & other characters have resting on them mean.

[odessa-castle]

I fell down a Yakuza-shaped hole a couple of months ago and I have so many thoughts, so I figured I should share some of them here instead of just, like, shouting at my screen or at my roommate's cat

Right now I'm replaying 0 on Legend god help me when I get to the car chase and I'm going absolutely feral about how, in Majima's very first combat encounter, Majima can't hit back.

Oh, he puts on one heck of a show with the tools actually at his disposal - Majima is a performer, after all, and he inhabits the Lord of the Night as fully as he does the Mad Dog of Shimano - but we're immediately aware that he's operating under constraint, that there's so many options foreclosed to him. And that's echoed right afterwards in the cutscene where Majima stops his fist inches from Sagawa's eminently punchable face, Sagawa smug and secure in the knowledge that Majima won't - can't - bite the hand holding his leash.

Majima doesn't get to hit back until he steps outside and meets Komaki, who cuts to the heart of what's been denied to him: Hide behind your merchant's guise all you like. I know money isn't what feeds that hunger. Whatever honest life you make a show of living, I can see the demon gnawing at you inside. (god that line just. fucking kills me.) Kiryu's Brawler style is brutal but Majima's equivalent Thug style is vicious. The tutorial helpfully points out that one of Majima's combo finishers lets him poke people in the eyes, and encourages the player to use it.

And for me, this entire setup puts a different spin even on Majima's street encounters, particularly the ones where he intervenes to help civilians. Kiryu warns the aggressors to lay off, because what they're doing is wrong; Majima (hilariously) insults the bullies, egging them on to fight him. (Which isn't to say that Kiryu doesn't also enjoy fighting or Majima doesn't also care about vulnerable people being harassed, it's more a matter of framing.) I mean, look at some of his expressions during his Heat Actions even before he unlocks a certain style. The man has a lot of feelings to sublimate.

Kiryu's introductory chapter ends with him punching his way through Dojima headquarters, and boy is it cathartic. Majima's introductory chapter ends with him staring out the window of his barren apartment, counting the watchers who form the bars of his prison.

Yakuza's gameplay is goofy and larger-than-life and actually a really good vehicle for characterization and storytelling sometimes, is what I'm saying.

[rubywolf0201]

Since there’s this tweet that says this:

Here are the list of characters who I think looks better with tan skin:

[besuretosavorit]

Nishiki has been of legal drinking age for 2 months at the start of Yakuza 0, what do you mean he's already a regular at Serena? He says he likes it because the "family higher-ups" haven't found it yet; how frequently is he having to interact with the lieutenants that he already needs a respite from them? 

I wonder how long he spent just venting to Reina about anything and everything, finally having a space of his own separate to Sunflower or the Dojima family. Anyway, this was meant to be a lighthearted "baby boy please think of your liver, you were still a teenager less than 100 days ago" type post.

[kenzan-kiwami]

been hunting for excuses to write about him again before rgg8 and i finally found one

i didn't think much of this scene when i played through it initially, but going back to it i suddenly remember that scene from the start of yakuza 1 where he tells kiryu that kazama used to be the tojo clan's top assassin. being as close to kazama as he is, i have no doubt he already knows the true nature of sunflower and the deaths of kiryu and nishiki's parents at this point.

a big part of the reason i like to lowball kashiwagi's age (29 or 30 in Y0; mid-sixties in IW) is because i don't think he'd have had such an idealised view of kazama had he been any closer in age to him when they first met. i don't know if they'll ever tell us how long kashiwagi was in the family before he made captain, or why he swore up in the first place, and frankly i don't ever feel informed enough to make those kinds of decisions for my own headcanon. but if he was, say, in his late teens or early 20s, i don't think it would be a stretch to say he might still take some influence from kazama's mentality. absolutely not as much as if he was a sunflower kid (...could he have been a sunflower kid??), but enough to inform decisions he makes later in his life.

to wander further down the path of non-canon, i'm not sure kashiwagi would have decided on his own not to say anything to the boys for thirty-odd years. kazama clearly harbours a lot of guilt around the fact he murdered enough parents to fill an orphanage, and keeping it from the kids means he doesn't have to confront that fact every day he sees them. they miss their parents, but they look up to kazama for offering them a new life. they enjoy his company. they're happy. why risk demoralising them, kashiwagi, after all that?

on the other hand, he could have just kept himself out of it on purpose like he does here. it's an interesting parallel to how he's described in yakuza 3 - staying out of ichiban's drama because he trusts him to sort it himself, vs staying out of clan drama to not bring anything down on his head as clan captain (which obviously doesn't work). still, he refuses to relay daigo's whereabouts to kiryu, because he thinks it best kiryu doesn't know. for valid reasons, but it's there.

i want to say something profound here but i don't think i can. i just really like him in this game. it's nice to be able to see how he's grown and changed as a person since the 80s; since kazama's death; since he got gunned down in his office and died in the arms of his last remaining family figure. but it's also nice to see the ways in which he's stayed the same. this scene from 7 is one of the things that makes me long for a more kazama-centric game, or at least more exploration of kazama's character, because if that gaiden substory is anything to go on he's been informing kiryu's decisions for basically his entire life. it'd be cool to get a more direct peek into kazama's story.

[meadowmines]

Some headcanon-leaning Majima meta/rambling/bullshit

I threatened to write this up over on a Discord and I'm now like a week ahead on Day Job Shit and I have time and it's fresh in my head so brace for hc/meta dump about Majima and Catching Feelings.

There is a whole sequence of Majima's Shoulder Devil Nishitani-voiced internal monologue I ended up cutting from The Bit, and while I did manage to keep that general thread in there, I wish I could have worked in this whole scene because it really spelled out a whole lot of Majima's bullshit. Specifically, how Majima believes he can't trust his own heart because he only ever loves people who are bad for him or who he's bad for.

It's not like he just pulled this out of his ass, either. Everyone he's shown as getting even the least little bit emotionally close to either has something awful happen to them, or does something awful to him. Saejima? Makoto?

And... Sagawa. Oof.

This is definitely my headcanon but tell me Majima, fresh out of a year in the hole, wouldn't just latch right onto the first person to show him even a little bit of kindness. Tell me Sagawa wasn't the exact kind of Bastard who would take advantage of that. There is a line Shoulder Devil Nishitani drops in that deleted scene, something to the effect of:

"He knew exactly what he was doin' to ya. Easier to put a collar on a dog that loves ya, right?"

And sure, he showed his true colors eventually and sure, Majima figured him out (or hell, he's enough of a Bastard that he might have even just come right out and said "sure I've been playing your heart like a cheap kazoo but you liked it so who's really at fault here? :)" ugh god I still wish we could have thrown him off a fucking pier but I digress). But the damage was already done.

As for the actual Nishitani: I think he was a little of both! He was also a Bastard, but the kind of Bastard that's exactly what it says on the tin and doesn't pretend to be anything but, and Majima was definitely skeeved out by getting hit on by this horny weirdo but also... kind of relieved, maybe? That this one was at least honest about his bullshit right up front? It sure would have been a refreshing change of pace after three years of Sagawa's mind game bullshit.

...and then of course he watched said weird horny bastard take like five bullets in center mass for him which, I would imagine, did little to dispel the "they're bad for me /I'm bad for them" dichotomy he'd built up. So that's always in the back of his head, that he can't trust his gut or his heart or his feelings, because every time he does someone gets hurt.

Then along comes Kiryu, who is both the first Secret Third Thing he's ever encountered, and somehow also both of the other two things at the same time and Majima does not know how to handle this. He's trying to push Kiryu away and drag him in closer at the same time. It's messy and ugly and he hates it but he has 0 idea how to be an adult human person in a healthy relationship of ANY kind with another adult human person and, let's be real here, neither does Kiryu.

Kiryu has NO idea what he does to Majima when he takes that bullet at the end of The Bit.

He thinks he had one chance to keep Majima from getting his head blown off and taking that bullet in his shoulder was the best thing he could do in that situation. And he wasn't wrong! He had to spend a night or two in the hospital about it, but he was fine! Majima was fine and went on to beat the shit out of the bad guys so Kuroshi and Kei-chan could deliver them to the Third Chairman in a gift bag with a shiny purple bow on top! Solid net positive outcome, right?

Does Majima see it that way? HE ABSOFUCKINGLUTELY DOES NOT! All he sees is one more person he's fallen in love with getting himself hurt, almost getting himself killed, and he knows he can never let it happen again but "never letting it happen again" means "cutting Kiryu out of his life" and at this point he might as well cut out his own literal heart.

And hoo boy does that shit ever compel me. I love reading and looking at other folks' soft fic and art, don't get me wrong, I love seeing these two happy, but I also love putting two dudes in the Feelings Smashing Machine and cranking that shit up to 11 and these two have a lot of delicious Feelings to smash, especially Majima.

[majimemegoro]

honestly i just want to give kudos to whoever designed this pictre because the body language and the expression on Daigo's face hoenstly does a lot more to sell their relationship and Mine's attitude towards Daigo than a lot of relationships in the series that are more fleshed out.

yeah. whoever posed this did a really good job.

[skrunksthatwunk]

ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.